Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

Charles Gounod's Requiem for four solo voices Soprano Contralto Tenor and Bass with Organ Accompaniment. Gounod was a French composer best known for his 'Ave Maria'and 'Faust'.

Par GOUNOD CHARLES. Gounod, comme Berlioz à la même époque, eut le grand mérite d'avoir donné à la mélodie un relief qu'elle n'avait pas eu jusque là en France. C'est avec lui que naît véritablement la mélodie française qui se substitue peu à peu à la romance, plus simple et d'un accompagnement moins raffiné. Gounod, en particulier dans ses premières oeuvres, choisit de beaux textes et calque avec un grand talent sa mélodie sur le 'chant' du langage français, en respectant le rythme établi par le poète. Nous avons voulu présenter une anthologie des mélodies qui nous ont semblé les mieux adaptées au goût d'aujourd'hui. Les Editions Henry Lemoine, qui furent à l'époque l'un des principaux éditeurs de Charles Gounod, souhaitent ainsi contribuer à faire aimer ces oeuvres au même titre que celles de compositeurs plus souvent interprétés et qui doivent peut-être quelque chose à Gounod... Jacqueline Bonnardot / classique / Répertoire / Voix Élevée et Piano

Charles Gounod's Requiem Op. Posth in C for SATB and Piano.Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson Maurice. According to information handed down while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil Henri Busser but the only complete version from the pen of Gounod is the version for large orchestra which is published here for the first time in a critical edition.Gounod?s Requiem unlike many contemporary settings of the Mass of the Dead is not characterized by darkness and terror. Rather with all of itstrepidation expressed through a marked chromaticism an atmosphere of hopeful expectation of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod?s death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press.

French composer Charles Gounod (1818-1893) was a prominent composer in his day best remembered for his Ave Maria and Opera Faust. 1890 saw the premiere of his Brief Mass. This work helped establish Gounod as a noteworthy composer. Despite being a minor composer to us today Gounod was famed in his day so much so that at his funeral Camille Saint-Saëns played the Organ and Gabriel Fauré conducted. Gounod's Brief Mass proves the composer's extraordinary talent and caught the attention of much of Paris when it was first performed composed for SATB choir solo voices and Organor Piano accompaniment. For all aspiring choirs Gounod's Brief Mass is an imperative sublime addition to the repertoire.

En 1950 à l'occasion de l'Année Sainte le Pape Pie XII décida que la Marche pontificale du compositeur français Charles Gounod (1818-1893) deviendrait l'hymne officiel de l'État de la Cité du Vatican. La Marche pontificale comme l'avait appelée son auteur prit alors le nom d?Hymne pontifical remplaçant ainsi l?ancien hymne (Musica Festiva) composé par Vittorino Hallmayr en 1857.Animé d?une foi profonde Charles Gounod avait composé cette marche en 1869 pour le jubilé sacerdotal du Pape Pie IX. La création eut lieu la même année sur le parvis de la Basilique Saint-Pierre par sept fanfares militaires. L?œuvre connut un succès immédiat.Elle est toujours appréciée de nos jours.Wil van der Beek en a réalisé un excellent arrangement.

Ste Cécile-Sacred works occupy a large part of Charles Gounod?s oeuvre. It was the Messe solennelle en l?honneur de Sainte Cécile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera.This Urtext edition is based not only on the original print of 1856 but also on copyists? manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published to celebrate the 200th anniversary of Gounod?s birth.Gounod?s well-known mass in a new Urtext editionBilingualForeword (Ger/Eng) and Critical Commentary (Eng)Idiomatic piano reductionIn preparation for the Gounod bicentenary year 2018

Ste Cécile-Messe solennelle (Ste C?cile) for Soloists (STB) Choir (SATB) Orchestra and Organ Sacred works occupy a large part of Charles Gounod’s oeuvre. It was the Messe solennelle en l’honneur de Sainte C?cile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of 1856 but also on copyists’ manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published tocelebrate the 200th anniversary of Gounod’s birth. - Gounod’s well-known mass in a new Urtext edition - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Idiomatic piano reduction - Full score and parts (BA8966) and vocal score (BA8966-90) available for sale

Ste Cécile-Messe solennelle (Ste C?cile) for Soloists (STB) Choir (SATB) Orchestra and Organ Sacred works occupy a large part of Charles Gounod’s oeuvre. It was the Messe solennelle en l’honneur de Sainte C?cile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of 1856 but also on copyists’ manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published tocelebrate the 200th anniversary of Gounod’s birth. - Gounod’s well-known mass in a new Urtext edition - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Idiomatic piano reduction - Full score and parts (BA8966) and vocal score (BA8966-90) available for sale

Ste Cécile-Messe solennelle (Ste C?cile) for Soloists (STB) Choir (SATB) Orchestra and Organ Sacred works occupy a large part of Charles Gounod’s oeuvre. It was the Messe solennelle en l’honneur de Sainte C?cile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of 1856 but also on copyists’ manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being published tocelebrate the 200th anniversary of Gounod’s birth. - Gounod’s well-known mass in a new Urtext edition - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Idiomatic piano reduction - Full score and parts (BA8966) and vocal score (BA8966-90) available for sale

Charles Gounod's Messe brève no. 2 pour les sociétés chorales (G-Dur) for Male Choir.This Mass is undoubtedly one of the best - if not the very best - of Gounod's works in this class. Its quality is emphasized by the fact that it has been the subject of more arrangements than any other among his shorter masses some of the arrangements having been publisher several decades after the appearance of the first edition.

A favourite at weddings and funerals as well as in the concert hall Ave Maria demands breath control of the singer and good Piano skills. This version was adapted for two Voices especially for performance by school festival andamateur Choruses.When Bach wrote his Well-Tempered Clavier in 1722 for educational purposes he could never have imagined that his Prelude No 1 in C was to be given a new life as the ground for Gounod’s Ave Maria nearly 140 yearslater. Charles Gounod created the work as an improvisation transcribed by his father for Violin with Piano and harmonium. It wasn’t until 1859 that the Latin text was published with the work.

Charles Gounod's O Divine Redeemer - Prayer for Mezzo-Soprano and Baritone Duet with Piano accompaniment.

High Voice in G with Piano-Charles Gounod's setting of 'Ave Maria' arranged for a High Voice in the key of G.

Mireille is a five-act opera composed in 1864 by Charles Gounod. The libretto was written by Michel Carré based on a poem by Frédéric Mistral. The premiere of Mireille was at the Thé tre Lyrique in Paris in 1864 to mixed reviews with some audience members and critics comparing it unfavourably to Wagner. Despite a lukewarm reception by contemporary audiences Mireille has continued to be a popular opera with over 800 performances of it by 1950 at the Opéra-Comique.